Love the narrative at the end ..you d9 put your heart into your work..prayers and grace 🙏🙏

I love Ryan’s work as much as his way of teaching!! Good stuff!!Thanks Ryan!!

Your honesty is so refreshing Ryan. Thank you for sharing your journey with us. You are an amazing artist as well as a person! Thank you so very much! Nancy Parker, Little Rock, Ar. here

I think Ryan's military background has helped him in both staying focussed on his art goals (massive hours, no playing around) and the deep focus it takes in seeing and feeling when he steps back to examine how his art piece is developing. The whole morning workout program he does is very important in starting his day out completely focussed on what he needs to do. I too am up at 3:30 every morning doing meditation and yoga, then taking in some online art info. At first of daylight I'm fast walking 5 miles through the woods. Then I'm ready for the day. Turning 69 this year. I'm totally an anti-competitive. I teach and throw competition Atlatl May through Oct. It is the most anti-competitive sport there could be. Strange that 3 of my atlatlist friends went to art school and have similar dispositions.(being strong and supportive, take no shit from anyone, very vibrant but soft spoken and calm.) We help each other compete only with ourselves. Our highest score for the year is our only goal. I finished 22nd in the world last year and going for top ten this year. It's a very good mix with my art. I paint upwards of 60 hours per week in the winter and about half that during atlatl season. Being a retired brick layer and custom home builder, I don't need art income, so my focus stays only on improving my work. I have done a few commissions on subjects I really care about, it's just another painting for me, other than the clients satisfaction is rewarding. I had some art school after HS and after I retired from building, went to graphic design school. But like Ryan, my greatest learning took place with a mentor. Studied with an Impressionist for 3 years when I was in my mid 20s. I started in soft pastel and then oil. I still won't do a portrait in anything other than soft pastel. It's those soft emotions that humans deserve. The graphic design skills do have a function in my art. I do use Adobe Illustrator as a sketch book and trying out color tones. Sometimes when I feel stuck, I drop my painting into Photoshop and play around with ideas, tints and so on. But most of the time, I rarely end up using those ideas but only to get my mind refocussed. I think working with Pantone's vast array of color and percents of transparencies is really helpful. Also designing my own brushes in Illustrator led me to making some of my own custom art brushes. Of coarse I'm blessed with the massive years of building skills, working with massive array of materials for 40 years. It's great that I have the ability to build my own canvasses in a systematic way. I have canvas day, where all I do is systematically build, stretch and gesso 6 to 8 different size canvasses. It feels great to start a knew project and just pick up a pre-built canvass with the perfect bounce and texture I prefer. I know it is difficult for others but building my own canvas gives me a sort of a psychological quality lead into the project. The fresh canvas is the most fun, the middle struggle the most pleasure, the finish the most sadness.

Painting from your heart and looking for that focal point keeps me positive

The painting tutorial was fantastic but the interview was incredibly significant. Many thanks.

SO inspiring! Thank you for sharing.

Thank you for your voice as an artist and warrior

What an excellent demonstration. 🎉 Bravo, thank you so much Eric Rhodes and Ryan Jensen 🎉

Ryan is awesome ♥

Ryan is a legend

Ryan, is immediately likable.

Thanks for making and sharing this video, Ryan. Your story is amazing and it was captivating to watch you work and hear your thought process as you go. So many artists in painting videos never explain what they see and how they make marks and changes accordingly.

Thanks much love

Awesome as usual 😊

Doing a sketch of my granddaughter and started with the eyes - Zombie drawing! Thanks for this affirmation on starting with the 'gesture' not the excruciating details. More like this, please!?!

Salute to Ryan😎

Ryan ... or somebody else's Channel I don't know... also while I'm watching you I think you are hilarious at first... and I got the listening to you and I realize that you are really talking straight from your heart... and you showed all your paintings... they're really very beautiful. So are you an impressionist painter deep down inside your heart really and is this your Channel or do you have a KZfaq channel at all? Please answer this so I can find your paintings and watch you paint. I think you do very good impressionist paintings... absolutely beautiful!! Thank you Ryan. 😊❤

This is excellent!

Wow ,Where have you been ? You are a great teacher keep up the great work .I learned a lot that I didn't know Thank you.

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When you try to control a style it becomes a gimmick. If you are copying a photo you are a draftsman creating an illustration. Copying an exact photo of nature or a person is the easiest thing to do. The artist draftsman, copying photos is performing a mechanical drafting process. Ryan is feeling though the process which is far different than drafting. He approaches the canvas and we see he is is not painting object but is involved with the process of feeling of the color with his first scribble. He has a few tools in in tool box. Feeling the color, splashing some more feeling the gesture of the subject first then adding more plains like the sky and fishing rod for placement and then subtracting from it. His goal out of the gate is not to draw, but to feel, to find the gestural feeling of what he is seeing. Ryan is creating Fine Art and there is a distinction between illustration copying photos and creating fine art. Now Degas was totally a studio painter who painted from photos using color theory. I'm not saying you cant become a great artist working photos as a draftsman because there are no rules. The old colorists impressionists will say, Object does not exist, we only paint light broken by plains. When Monet painted the same Lilly patch a 100 or a 1000 times in different times of the day, he was not painting Lilies he was painting light broken by plains. There is no such thing as object. Here we see this is exactly what Ryan is doing, painting light broken by plains. He is not painting object until the later steps in his process. His initial steps are color and gesture notes providing him a road map. And when we see his completed piece, we see that the painting breathes. This was a great lesson. Thank you Ryan Jensen. I will be following closely now that I have found you.

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